Cute Poison (episode)/Transcript
This is the transcript about the episode Cute Poison. ---- Season 1, Episode 4 - "Cute Poison" Written by: Paul Scheuring and Matt Olmstead Starring: Wentworth Miller, Dominic Purcell and Robin Tunney Act 1 cell - Lincoln sleeps on his bed, suddenly the lights come on and Bellick enters, followed by more prison guards BELLICK: On your feet. LINCOLN: What time is it? BELLICK: Get up. LINCOLN: What's going on? PRISON GUARD: of shot Let's go, Lincoln, on your feet. prison guard pulls up Michael and wrestles him out of the room LINCOLN: Bellick! Bellick! Bellick! No! Bellick! Bellick! is the last to leave the cell, he closes the door, Lincoln is being led away by 4 prison guards LINCOLN: Bellick! Where are you ta- Bellick! No! to the prison guards leading him into the electric chair room LINCOLN: No! Bellick, no! Bellick, no, I got a month left! Please! No! Bellick! prison guards force a struggling Bellick into the electric chair and begin strapping him in LINCOLN: Bellick, no! Bellick, please, no! No! I got a month left! Please! of the prison guards holds a wet sponge against his head LINCOLN: Bellick! begin tying the head strap around his head LINCOLN: Please. Bellick. breathes deeply as the prison guards finish strapping him in, all the prison guards exits, apart from Bellick who comes up close to Lincoln BELLICK: Make your peace, Lincoln. pulls the black sheet down in front of Lincoln's face BELLICK: Let's get on with it. prison guard in the next room pulls the lever. We hear an electric sound, Lincoln jolts in the chair. Suddenly he wakes up in bed, it was a dream. Lincoln breathes deeply, sits upright, he sits for a moment, then puts his face in his hands ---- cell - Michael is by the toilet, which is now away from the wall, Michael is chiseling away at the wall behind it. He hears a noise, looks up to see if there is any danger, he carries on chiseling PRISON GUARD: of shot 40! cell gate opens, Michael stops chiseling and pushes the toilet back against the wall and starts washing his face, Haywire and Stolte enter, Haywire comes into the cell, Stole stands outside STOLTE: Close 40! sits on his bunk and starts drawing, Michael dries his face with a towel MICHAEL: Haywire, you ever thought of breaking out? HAYWIRE: Sniggers What the hell would I do out there? MICHAEL: Not be here. HAYWIRE: Halfway houses, psych visits, meds, checking in with a P.O, urine tests, keeping a job. No. Why do you ask? has made his way over to the cell gate MICHAEL: This guy was talking about it in the yard yesterday, I didn't know what to say. HAYWIRE: Tell Officer Bellick. He'll make life easier for you if, er... looks up and stares at the tattoo on Michael's arm MICHAEL: If what? HAYWIRE: Your tattoos. MICHAEL: What about them? HAYWIRE: What are they of? goes to pick his sweater up off of his bunk HAYWIRE: No, no, no, no, no, what-, what are they? Like, some kind of a- MICHAEL: They're just tattoos. prison guard knocks on the cell gate, accompanied by a prison doctor PRISON GUARD(?): Candy time, Haywire. hops down from his bunk and faces Michael HAYWIRE: They think I have schizoaffective disorder with bipolar tendencies. PRISON GUARD(?): Think you got it? HAYWIRE: giving the prison guard a stern look Whatever. downs his meds and sarcastically insinuates it was refreshing to the doctor HAYWIRE: to Michael I take the pills to keep the quacks off my back. turns back to the doctor who is now holding up a flashlight, he turns it on and Haywire sticks his tongue out and wriggles it around in an over-the-top manner so that the doctor can confirm he swallowed them, the prison guard and doctor exit HAYWIRE: Bye now. Michael, as he rushes toward the toilet Get out the way. bends over the toilet and sticks his fingers down his throat, making himself throw up MICHAEL: You know, maybe they give you those things for a reason. flushes the toilet and stands upright HAYWIRE: Yeah. To keep me dull. To keep me in their invisible freakin' handcuffs. Seriously though, those tattoos, they're beautiful. HAYWIRE: Michael, now with his sweater on, bends down and picks up his shirt Do you mind if I, you know, look at the whole thing? MICHAEL: I do actually. puts on his shirt HAYWIRE: Why? PATTERSON: of shot Yo! Stand clear! MICHAEL: all the cell gates open Does there need to be a reason? exits, Haywire looks frustrated ---- - Michael walks toward Sucre, who is walking in Michael's direction MICHAEL: Sucre. SUCRE: his hand up I'm not gonna talk to you, man. walks straight past, Michael turns and watches him walk away before spotting Haywire stood by the courtyard gate, Haywire is staring at Michael, he looks restless and on edge. Michael turns back around, slightly rolls up his right sleeve and we see part of his tattoo, with the words 'CUTE POISON'. Flashback to Michael researching on his computer, then approaching his apartment wall that's covered with newspaper articles and notes, and writes the words 'CUTE POISON' on a sheet covered with equations. Back to real time, Abruzzi is stood in front of Michael ABRUZZI: What's the problem? MICHAEL: Nothing I can't handle. ABRUZZI: Well, I knew there was a problem, I could tell by looking at you from across the yard. his cronies, who are stood about ten metres away Hey, guys, didn't I say there was a problem? Michael So what's the problem? MICHAEL: towards Haywire over his shoulder You're looking at it. ABRUZZI: What, Haywire? MICHAEL: Yep. That's my new cellmate. ABRUZZI: That's a problem. MICHAEL: He doesn't sleep. ABRUZZI: So when do you dig? MICHAEL: I don't. ABRUZZI: Hey, you and I are a bet now. You made me promise, you said that we were gonna get out of here. You renege now and I'm gonna Michael by the back of the neck cut you. So you take care of your business, or I'll take care of you. Have a nice day. gives Michael a 'friendly' pat on the cheek and walks away, Michael turns and sees Haywire still staring Act 2 office - Pope looks upon the model of the Taj Mahal while Michael is fiddling with it POPE: It's really coming together, isn't it? MICHAEL: up Yep. POPE: You think it'll be done in time? MICHAEL: Well, I figure we still have the interior alcoves and plasters to do which is no small task, but, yes, I think so. POPE: Listen, I have to say I-, I really appreciate all the effort that you put into this. Er... I wish there was some way I could, you know, pay you or something. MICHAEL: There is one thing you could do for me. My cellmate. POPE: Ah, the inimitable Charles Patoshik. Haywire? MICHAEL: Then you know. POPE: Hold it right there. Officer Bellick is in charge of cell transfers. You're gonna have to talk to him about that. MICHAEL: I tried, but he seems to think we're a good match. POPE: Has he threatened you? MICHAEL: Who? Haywire or Bellick? BELLICK: very slightly Unfortunately, unless there's some evidence of violence or sexual predation between cellmates, those kinds of requests fall on deaf ears around here. Prison system's a little too crowded for requests based on personality. It's not exactly Sandals out there. knock on the door, Becky enters BECKY: Warden. Sorry. You're wife is here. POPE: What? She's not supposed to be here 'til 4 o'clock. Becky and buttoning up his wasitcoat Becky, do not let her come in here under any circumstances, she's not supposed to see this until our anniversary. I'll be right out. goes back to her office, Pope follows closely behind, taking his jacket with him POPE: Hi, sweetheart. on his jacket You're early. Um, let's go eat. JUDY: You're acting funny. POPE: I am? JUDY: What's going on in there? POPE: Um, just going over some files. JUDY: Becky said you were in a meeting. looks stumped JUDY: This isn't Toledo all over again, is it? POPE: Toledo? How can you say that? JUDY: Then you won't mind if I look. POPE: Er, Judy... walks past Pope, Michael comes out of Pope's office MICHAEL: Warden, I'm not gonna be able to cooperate. I'd get killed if I did. Johnson's still deciding. POPE: pause Then you and I are done. exits JUDY: You should have just told me. POPE: Well, you know how anxious I get when you come around the inmates. Becky, have a guard escort Johnson back to his cell, I'll deal with him later. Judy Come on, let's go eat. puts his arm around Judy and they begin to exit ---- River - Patterson leads Lincoln into a guarded visitation room, there are other guards present, Lincoln sees Veronica, she is stood by the table and chairs, he stops in shock, then enters hesitantly LINCOLN: What you doing here? VERONICA: I'm your attorney. I'm representing you now. LINCOLN: Hm. VERONICA: If that's alright with you. LINCOLN: Last time I saw you, you called me a liar. VERONICA: Things have changed. I believe you now. sits down, motioning Lincoln to sit down too, he does VERONICA: I got in touch with Crab Simmons' ex-girlfriend, Leticia. She coroborated your story. LINCOLN: Will she testify? VERONICA: She's missing. I don't know, I think the secret service got to her. LINCOLN: The secret service? VERONICA: They've been poking around, as soon as they show up, she disappears. What do you think happened? LINCOLN: Um... I didn't realise it was that high up, you know? Do you know what we're up against? VERONICA: I know it's a lot more than either of us can handle on our own. LINCOLN: Project Justice. VERONICA: Why have I heard of them? LINCOLN: All they handle is death penalty cases. There's a guy there, Ben Forsik, I sent him copies of everything I had. I mean, you can go there, tell him what you found, maybe it'll be enough to bring him on board. VERONICA: Okay. LINCOLN: hesitant So, er, how's Sebastian? VERONICA: What do you mean? LINCOLN: Well, you being here, I mean, is he cool with it? VERONICA: I haven't talked to him. The, um, the engagement's off. LINCOLN: Oh. I'm sorry. VERONICA: You could at least say that like you mean it. LINCOLN: I do. laughs VERONICA: God, you always were a lousy liar. LINCOLN: Laughs Yeah. VERONICA: I better get to Project Justice. picks up her stuff and walks toward the door LINCOLN: Veronica. stops, turns to Lincoln LINCOLN: Thank you. I don't have a whole lot left. VERONICA: You can thank me when I get you out of here. exits, Lincoln leans his head against the table ---- - Sucre is using one of the payphones SUCRE: Baby, it's me, are you there? Hello? Are you there? see a line of prisoners waiting to use the phone, Trokey is behind Sucre TROKEY: Hey. If she is, she obviously don't want to talk to you. SUCRE: It's Wednesday, babe. You're gonna come around today, right? Okay, got to hang up now. I got to back in the block but you're gonna be here today, right? I'm your man, baby, and I love you. I do. ---- room - Michael walks toward his clothes, towel around his waist, he picks up another towel, Haywire enters the shower room behind him HAYWIRE: It's a pattern. MICHAEL: What did you say? HAYWIRE: Your-, your tattoo, it's a pattern. MICHAEL: You're seeing things. throws the other towel over his shoulders and exits, Haywire, clutching on to his shirt as alway, is not convinced ---- office - Pope and Bellick are standing by the Taj Mahal model POPE: Putting him in with Haywire is a low blow, deputy. BELLICK: What? The shrin's cleared Haywire for re-entry into gen pop, besides he's so doped up on meds, he's like a kitten these days. POPE: Pft, a kitten who killed both his parents. BELLICK: All due respect, sir, if you give Scofield preferential treatment, it'll undermine your credibility. gives Bellick a look BELLICK: Look, I know you've got a soft spot for the guy because he's got brains in his head and he's helping you with that contraption in there but the guy's a violent criminal. He deserves punishment just as much as the rest of these guys. POPE: You have been here long enough to know that I'm less interested in punishment than I am in rehabilitation, and sticking him in with Haywire is not rehabilitation in my book. BELLICK: his hat You delegated authority over gen pop to me, boss. POPE: I know I did. BELLICK: Well, then you either got to let me do my job or pass it on to somebody else. POPE: Now, Brad, go easy. There's a reason I'm giving you more and more responsibility. When I retire, I'm recommending you to take my place. Don't make me regret it. All I'm saying is take another look at the Scofield situation. I trust your judgement. BELLICK: Yes, sir. exits ---- room - Prisoners file in to meet with their visitors, Sucre is in the line, he looks fairly excited, Stolte shuts the gate in his face before he can step out SUCRE: Woah, woah, woah, woah, wait, hold up. This is supposed to be an open visitation, why are we doing it here? STOLTE: Ask your visitor. looks to his left and sees Hector, things get tense, they both sit on opposite sides of the protective glass SUCRE: What are you doing here? Where's Maricruz? HECTOR: She's not gonna be coming around here anymore. SUCRE: Is she hurt? HECTOR: No, no, she's fine, she's fine, she just, er... she's with me now. SUCRE: She's with you now? slightly This is a joke, right? HECTOR: No, she made her decision, man. She decided she needed stability. SUCRE: And she's gonna get that from you? HECTOR: Look, look, you can think whatever you want about me, but, er... on the glass I'm not the one who's in prison. See, I actually can do something for her. And she wanted me to stop by here and talk to you first, you know, in case you got mad or so- flips, he attacks the window and shouts in Spanish, Hector gets up and begins to walk away, a prison guard comes in and restrains Sucre, Hector stops and turns HECTOR: You just proved my point. You're a con. And that's all you'll ever be. kisses hs finger and thumb and points at Sucre, this is a threat, Hector exits ---- Control Center - Michael makes his way to the security guard's room, he throws him a carton of cigarettes SECURITY GUARD: Make it quick. goes into the storage space and looks for something, he scans the shelves, he finds what he needs, a bottle of something, focus on the tatto on his arm saying 'CUTE POISON' on a bottle, the letters C, U, P, O, S and O are highlighted. Flashback - We see many documents to do with the Copper Sulphate and Phosphoric Acid and equations, and a piece of text that says "Phosphoric acid reacts violently when combined with sulphate acids. Back to real time, Michael puts the bottle in a little pouch attached to the inside of his sleeve and tucks it in SECURITY GUARD: Loudly Yeah. He's, er, right in here. looks up, sees Bellick and the security guard by the doorway BELLICK: Take a walk, chappy. guard exits, Bellick enters the storage room, Michael acts casually as Bellick walks toward him BELLICK: Scofield. Michael You're in a restricted area. MICHAEL: I'm doing yardwork for PI. We need some fertiliser. BELLICK: Then why are you in the masonry section? doesn't reply, Bellick searches him with his baton, doesn't find anything BELLICK: Oh, and, by the way, how's the foot? stamps on Michael's bad foot, twist his foot on the bad spot, Michael groans grabs Michael by the neck, twists his foot some more, Michael drops to the ground, Bellick still holding the side of his neck, he gets down to Michael's level, Michael is in a lot of pain BELLICK: Don't ever go round me to the Pope again. stands BELLICK: Now move. gets up and hobbles away Act 3 cell - Michael spits water into the sink, most probably just brushed his teeth, Haywire sits on his bunk clutching a pillow, Michael turns the tap off MICHAEL: You know what, Haywire? I don't think we're gonna work out. around And since I was here first, I think you should go. HAYWIRE: I crapped myself once in junior high. looks away slightly, confused HAYWIRE: It was during-, during PE, we were-, we were playing Badminton. And I knew I was gonna have to walk past a bunch of the other students to, you know, get back to the locker room. picks up a tube of toothpaste as Haywire speaks, he opens the cap and starts squeezing the toothpaste out into the toilet HAYWIRE: And so, I just started walking. And I tried to make fun of it, you know, before anyone else did. So I turned around behind me and said "Look, I have a tail." puts the empty toothpaste tube in his pocket and flushes the toilet, Haywire clambers over to the edge of his bunk, near the toilet where Michael is HAYWIRE: I just shared a secret with you. Now it's your turn. MICHAEL: You want to know what the tattoos mean? HAYWIRE: Whispering Yeah. MICHAEL: quickly Nothing. stares at the wall, he looks annoyed, Michael walks toward the cell gate looking at the floor ABRUZZI: Hey, Fish. see Abruzzi standing outside Michael's cell, Michael leans against the wall ABRUZZI: Making any progress? MICHAEL: With Sleeping Beauty back there or with the digging? ABRUZZI: Either. MICHAEL: No. But I know what to do. ABRUZZI: Oh, yeah? Problem is, you don't go the stugots to do it. look between the two PRISON GUARD: of shot Abruzzi, let's go. ABRUZZI: See ya. exits ---- - Trokey is on one payphone, another inmate is using the one next to him TROKEY: Chuckling Yeah? Really? Well, tell the crazy son of a bitch I said hi. approaches Trokey SUCRE: Wrap it up. TROKEY: Sucre How about Aunt Ruth? She out of the hospital yet? SUCRE: Wrap it up. TROKEY: Hold on, ma. Sucre Bite me. Trokey goes to talk to his mother again, Sucre disconnects the line on the payphone, Trokey drops the phone TROKEY: Okay. We got a problem now, man. SUCRE: up to Trokey Let's handle it then. laughs and walks away SUCRE: That's what I thought. picks up the phone and types in a number, it rings. We see Maricruz in a street somewhere, she picks up her phone MARICRUZ: Hello? SUCRE: Maricruz? It's me. Baby, what the hell is going on? What's the deal with you and Hector? MARICRUZ: When were you gonna tell me? SUCRE: Tell you what? MARICRUZ: That Rita Saldana's been visiting you. SUCRE: Confused What? MARICRUZ: Yeah. Hector told me. SUCRE: disbelief, laughing nervously Hector told you. Hector told you. Of course he told you, baby, that guy is a snake, he's a liar. MARICRUZ: Laughs Why would he lie? SUCRE: Why would he lie? 'Cause he's been trying to get into your pants since the minute we started dating, that's why. MARICRUZ: You know what? I don't know what to believe. SUCRE: Me, mami, believe me. MARICRUZ: Yeah, while I wait by the phone twice a week. SUCRE: Baby, where is this coming from? MARICRUZ: I don't know. Sighs Look, there's just so many things. Yesterday I went to Theresa's house and I saw her baby. SUCRE: Is that what this is about? You think your clock is ticking? MARICRUZ: Well, I am gonna be 30 in a few years! SUCRE: Laughs Baby, you're 25. You want to get pregnant? Let's get pregnant right now. MARICRUZ: Baby, you know I can't pregnant until I'm married. SUCRE: We're gonna get married. In 16 months. MARICRUZ: Yeah, well, Hector says that if something goes wrong in there, that, er, you could serve your full sentence. I can't wait 10 years. I can't wait 10 years, baby. SUCRE: I'm gonna be out in 16 months. Spanish MARICRUZ: Okay, well, what if something does happen, huh? Baby, I can't wait that long. see Hector approaching Maricruz from behind MARICRUZ: I can't. stands behind Maricruz, she sees him MARICRUZ: I'm sorry, I got to go. hangs up SUCRE: Hello? Ba-, wait-, hello? slams the phone back in its place and stares, thinking ---- Justice, Ben Forsik's office - Ben Forsik is at his desk, Veronica sat the other side, Nick Savrinn is sat at the side FORSIK: Even if Letivia Barrows turns up her again, her testimony would be worthless. By and large, most junkies with criminal records don't shine on the stand. VERONICA: Maybe, but I've just found all this out in the past couple days, I'm confident that I can find out a whole lot more now that I'm devoting all my time to the case. NICK: A secret service agent came to visit you when Leticia was in your office. What did he want? FORSIK: Nick, please. You've got to understand, Miss Donovan, unless there's new information you can provide for us, we've already reviewed Mr Burrows' case thoroughly. Do you have any new evidence? VERONICA: No, but I- FORSIK: But. That is effectively what you're telling us, right? I need to clarify here. VERONICA: Yes, that is what I'm telling you. But, look, Mr Forsik, you don't need to point out what I don't have, I am well aware of that. I'm here asking for your help because I don't think an innocent man should be killed for something he didn't do. And I believe that's what it says on your mission statement in the lobby. FORSIK: We get thousands of requests for representation. VERONICA: I'm sure you do- FORSIK: And I have to decide which cases we're going to devote our very limited resources to. VERONICA: I will do all of the legwork, Mr Forsik, but since I don't have any experience in death penalty cases, I'm just asking you to point me in the right direction. sighs, thinks VERONICA: Please. FORSIK: I'm sorry. We just don't have the man power. pause VERONICA: Thank you for your time. to Veronica exiting the building, she gets in her car, we see Hale watching her from his car, as soon as he sees her, he makes a phone call HALE: She's just leaving now. It's gonna take her at least half hour to get across town in this traffic. see Kellerman in Veronica's house, he's wearing gloves and going through her post KELLERMAN: We're not gonna need nearly that much time. puts the letters down, then picks up a picture of Veronica, Lincoln and Michael celebrating Veronica's college degree KELLERMAN: I've turned up quite a bit already. ---- cell - Haywire is neatening up his toiletries, looks like he has OCD, he notices his missing toothpaste HAYWIRE: Hey, have you seen my toothpaste? It was right here. see Michael standing against a wall, uninterested, looking in the opposite direction MICHAEL: Haven't seen it. HAYWIRE: I always put it in the same place. MICHAEL: I'm sure it'll turn up. looks up and stares at Michael in the toilet paper dispenser. Skips to Sucre's cell, he lies in bed, we see his cellmate's legs dangling over the bunk twitching, Sucre can't sleep, he stares at a picture of him and Maricruz that he attached to the underside of the upper bunk. Back to Michael's cell, Michael is asleep, Haywire is on his knees, slowly tearing Michael's top his shirt so that he can look at his tattoos. Michael wakes, jumps up and sits on his bunk against the wall sudheer: Get away from me. HAYWIRE: I need to see 'em. Just, you got to show them to me, closer to Michael It's pulling me in. MICHAEL: forward threateningly I said get away from me. backs down slowly HAYWIRE: Okay. He's got a maze on his skin. Laughs Man's got a maze on his skin. is now standing, pacing, he stops by the cell gate HAYWIRE: Why-, why would he do that? Why-, why would he put a maze on his skin? Um.. I don't kn-... is so intrigued he looks annoyed, sucks his finger Act 4 the way out to the Prison courtyard, Michael catches up to John Abruzzi, who is strolling leisurely his hands in his pockets. Michael looks over his shoulder than begins talking.# MICHAEL: “How good are your contacts in chemical lockup?” ABRUZZI: “Depends who's asking,” MICHAEL: “I need a bottle of drain line root control, sooner than later.” ABRUZZI: “You got weeds growing in your cell?” MICHAEL: “Just one,” looks over his shoulder at a twitching Haywire is at a Police station, the front door opens and a police officer walks out, and makes his way casually over to Veronica POLICE OFFICER: “Are you the one that’s looking for me?” VERONICA: “Yeah, I wanted to ask some questions about the Lincoln Burrows case.” POLICE OFFICER: “Yeah?” VERONICA: “I'm Veronica Donovan. I'm representing Lincoln on his appeal.” start walking, Veronica follows POLICE OFFICER: “What about it?” VERONICA: “You were the first one to Lincoln's apartment the night of the murder.” Shrugs POLICE OFFICER: “That’s Right.” VERONICA: “Look I'd really appreciate it if you could just tell me exactly what you saw.” POLICE OFFICER: “Dispatch called with a tip that Burrows was seen running from the garage where they found Steadman.” officer stops and turns to face Veronica, his face solemn. POLICE OFFICER: “So we went over to Burrows' place.” the Police Officer followed by a SWAT Team break down Lincoln Burrows front door, guns raised, the sound of running water can clearly be heard. POLICE OFFICER’S VOICE IN REALTIME: “We spread out, I took the bathroom.” police make their way into apartment and spread out the Police Officer takes the bathroom where Lincoln can clearly be seen washing his bloody clothing in the bath POLICE OFFICER’S VOICE IN REALTIME: “I saw your client washing out the bloody pants.” POLICE OFFICER: “Police! Hands up.” turns in shock and he drops the pants back into the bath and raises his hands up in surrender. OF FLASHBACK POLICE OFFICER: “I‘m sure I don't need to tell you it was Steadman's blood.” VERONICA: “In the report you typed up that night, you said you saw Lincoln in the bathroom that's all.” VERONICA: “…Later, you testified that you saw him washing the pants, which one is it?” POLICE OFFICER: “Does it matter?” VERONICA: “Did you actually see him washing the pants or not?” POLICE OFFICER: “Yes. He stood up, turned around, his hands were all wet, looking guilty as hell.” VERONICA: “Your testimony factored into his conviction. You know that, right?” POLICE OFFICER: “Hah- You know, lady, if you got any other questions, just go through the department.” Police offer walked off. Veronica stood there confused, then she walked back to her car, all of a sudden a man walks up to her scaring her. NICK: “Ms Donovan? Sorry I didn't mean to scare you.” VERONICA: “What are you doing here?” NICK: “Nick Savrinn, with Project Justice.” VERONICA: “I know who you are, but what are you doing here?” NICK: “Look, my boss may not think Lincoln's case is worth looking into, but I do.” the Prison Courtyard, Michael is sitting alone. Behind him is Haywire, looking nervous and scribbling on a notepad. Abruzzi comes and sits next to Michael, he produces the bottle of Drain Cleaner ABRUZZI: “There's a quicker way to take care of your problem.” drops the Drain Cleaner and catches it with his other hand to reveal a shiv hiding behind it. He then holds both out for Michael to choose from MICHAEL: “There's smarter ways, too.” takes the Drain Cleaner, slips it into his pocket and walked off. Abruzzi slips the shiv into his pocket. is in his cell alone. He is fiddling with an empty tube of toothpaste, the screen pans into the Copper Sulphate bottle and Drain Cleaner. FLASHBACK- We see Michael’s Copper Sulphate and Phosphoric Acid equation, with the words CUTE POISON written over it in red felt tip. We then see a person in a lab coat doing a test of this reaction. With a piece of metal and a white substance on it, the person then pours black Drain Cleaner on the substance. It bubbles and fizzes immediately. P.O VOICE FROM BELOW: “Lights out in ten minutes. Hey, lights out in ten minutes.” has poured the substances into two toothpaste tubes, and is now screwing the cap on, he sits holding them in his hand for a minute, thinking. and Nick and sitting in a café drinking and talking. NICK: “What stood out was that most death penalty cases take ten years to exhaust all appeals. Lincoln got there in three.” VERONICA: “So for it to be expedited there had to have been some political influence right? NICK: “Well given Terence Steadman was the vice-president's brother, tt's not hard to believe.” VERONICA: “How though? They got to every judge that rejected his appeal?” NICK: “It doesn't take a judge.” picks up his water and sips it NICK: “All it takes is a little special attention from one of his clerks. But how Lincoln got fast-tracked doesn't interest me. It's why. If he was set up, then why? ” VERONICA: “I think the answer to that might lie in the victim.” is a pause VERONICA: “What do we know? He was a CEO of EcoField, right? He was pushing alternative energy.” NICK: “Successfully pushing alternative energy, so…Oil companies, the Saudis, even our government, a lot of people stood to benefit with Steadman out of the picture. Why did you wait till now to take up this case?” VERONICA: “I thought he did it, like everybody else. I just hope it's not too late.” NICK: “It very well may be. You need to prepare yourself for that.” VERONICA: “What about you? Why death penalty work?” NICK: “My father did 15 years for a crime he didn't commit. I know first-hand, that when the government gets you in their cross hairs, you stand very little chance. That's why.” is another pause NICK: “Now, do you want my help?” the courtyard Michael walks through the Prison gate, he walks past Haywire who is staring ahead and unbeknownst to him is sketching out Michael’s tattoo. Sucre sees Michael and rushes up to him. SUCRE: “I want in.” MICHAEL: “Too late.” SUCRE: “I'll do anything. These hands are digging machines. I'll get you to China. I'll dig like a psychotic rodent if I have to. Fish, I gotta be back in.” MICHAEL: “As of right now, there is no in. Van Gogh over there is my new cell mate.” SUCRE: “But you're gonna so something about it right? You’re gonna get rid of him.” MICHAEL: “I'll do what's necessary.” smiles happy, he ecstatically hugs Michael. SUCRE: “You're my boy.” smiles. SUCRE: “So how you gonna do it?” MICHAEL: “Let's just put it this way. Someone's gonna get hurt.” nods and looks over at Haywire who is still nervously sketching. are back at the large house in Blackfoot, Montana beautiful setting. Inside, the vice-president Caroline Reynolds is chopping some vegetables again, she has the phone on loudspeaker and is talking to Kellerman and Hale, who are driving, with the cell phone also on loudspeaker: CAROLINE: “How did we miss this, guys?” KELLERMAN: “Scofield's father was out of the picture by the time he was born, Took his mother's name.” CAROLINE: “All right. Scofield had no priors and a full-time job as an engineer?” KELLERMAN: “Correct.” CAROLINE: “Then he goes and robs a bank, discharging a gun in the process, so in sentencing he could manoeuvre his way to Fox River, where his brother's scheduled to die in less than a month. Obviously, something's up.” HALE: “With all due respect, brothers are incarcerated together all over. It may just be a coincidence.” CAROLINE: “Move on the younger brother. Do it pre-emptively, before anything rises up, bites any of us in the ass.” A-Block Michael walks over to his cell. Upon entering he sees Haywire crouched by his bed, spread out are perfect drawings Haywire has done of Michael’s tattoo. Michael stares at them as the cell door closes behind him. HAYWIRE: “It's a pathway. Where does it lead?” stares at Haywire in shock. HAYWIRE: “Where are you taking me?” grabs Michael. Michael pushes back, Fed up with Haywire. Michael then turns to face the cell gate, brings his head back and then smacks it hard against the gate twice, causing his head to bleed. HAYWIRE: “What are you nuts?” MICHAEL: “Officer! I need an officer!” Louis Patterson comes running from the end of the block, followed by several other officers, to see what’s going on. To be confronted with a bleeding Schofield. PATTERSON: “What the hell's the problem down here? What the… Son of a bitch, Open up on 40.” gate opens and Patterson reaches for his pepper spray with one hand, the other he points out as a warning. HAYWIRE: “He's got the pathway on his body. It leads somewhere.” PATTERSON: “Back off, Haywire.” HAYWIRE: “No, look, look at his tattoos. It's a pathway.” PATTERSON: “Haywire, I said back off, you want a hot shot?” HAYWIRE: “I'm telling you, look Argh!” lunges forward but gets pepper sprayed in the face by Patterson. PATTERSON: “Back off, man. Get him out of here.” OFFICER #1: “Let's go.” other officers grab a kicking and screaming Haywire and drag him out the cell, assumingly back to the psych ward. HAYWIRE: “It leads to hell! It leads to hell! It's a pathway to hell! He's taking us all to hell!” watches Haywire being taken away, blood running down his face, his plan having worked. is sitting in his cell reading. The buzz goes off and he looks up as his cell door opens, stood outside is Sucre holding a; pillow, a box of his belongings and smiling happily. Bellick appears, he looks a bit smarmy, he enters the cell. BELLICK: “So, the gang's all back together again, well, ain't that swell? I told you not to go around me with the Pope, but you just keep making waves, don't you? exists as Sucre enters, and then the gate closes. SUCRE: “Good to be back, man.” MICHAEL: “Good to have you back.” do an awkward handshake that ends in a hug. SUCRE: “So, when do we get started?” smirks. the medical wing. Sara Tancredi is in the corridor talking to another nurse. Both separate and walk off. Meanwhile Michael is in the medical office, watching this through a window. He walks over to the metal grate below the sink and bending down, he pulls out the two toothpaste tubes that contain the copper sulphate and phosphoric acid, and squeezes both out the tube into the grate. As they hit the metal, it fizzes and makes a hissing sound. Michael quickly gets up and goes to sit back in the chair near the medical tray. Sara then enters the medical office. SARA: “Good afternoon, Mr Scofield.” MICHAEL: “Hello.” SARA: “How are you feeling today?” camera pans, and we see Michael is smiling and rolling up his sleeve. MICHAEL: “We’re good.” SARA: “What happened? “ MICHAEL: “Uh, caught an elbow playing basketball.” SARA: “Uh-huh.” puts her disposable medical gloves on. SARA: “Mind if I take a look?” MICHAEL: “By all means.” SARA: “You know you're gonna get killed in here, right? If you're not careful.” MICHAEL: “I'll make you a bet. When I get out of here, alive, I'll take you to dinner. Lunch. Cup of coffee.” ignores his charms, and continues to deal with his head injury. SARA: “Michael, this charm act could be exactly what's getting you into trouble out in the yard.” was a silence between them. SARA: “Lean forward.” cleaned the wound and put a plaster of the injury. We the viewer, see the chemical in the drain, still fizzing away. Veronica and Lincoln are sat in a Private, guarded visitation room, we can see inmates passing the windows bars of the room. Nick is going through the events of the night of Terence Steadman’s death. NICK: “All right. So you went to the parking garage, Terence Steadman is already dead.” LINCOLN: “That's right.” NICK: “You saw that, you ran? Took the gun?” LINCOLN: “Dumped the gun.” NICK: “Where?” LINCOLN: “Storm drain, Van Buren and Wells.” VERONICA: “Nobody ever found it.” NICK: “What did you do after that? Go back to your apartment?” LINCOLN: “Yeah.” – Lincoln is standing at the sink in his pants and vest. He washes his face in the sink. LINCOLN’S VOICE IN REAL TIME: “I was freaking out, trying to figure out what had happened.” pushes himself up from the sink and wipes his nose. He looks stressed, then out the corner of his eye he spots the bloody clothing in the bath. LINCOLN’S VOICE IN REAL TIME: “Then I saw the bloody pants in the tub. stares in shock at the bloody clothing in the bath as he slowly made his way over to them OF FLASHBACK LINCOLN: “The cops, they busted in a minute after I got there.” VERONICA: “The pants, the one’s with Steadman's blood on them, First cop on the scene says he saw you washing them in the tub.” LINCOLN: “He's lying. My hands were wet after splashing water on my face.” in the flashback, Lincoln is still staring at the pants, when the police break the door down. POLICE OFFICER: “Police! Let's see the hands! Hands up!” OF FLASHBACK LINCOLN: “I never touched those pants.” NICK: “Which brings us back to the gun, the one you said you dumped.” LINCOLN: “It was planted. It’s the only way it could have got there.” NICK: “Ballistics matched it to a slug that was—” LINCOLN: “The gun was planted. It was planted! Just like the pants.” NICK: “Your fingerprints were all over the gun.” LINCOLN: “Bo…” was a silence as Veronica and Nick look at each other in confusion. NICK: “Who's Bo?” LINCOLN: “He's the guy who arranged everything.” Lincoln reaches into a brief case in which there are two guns. A guy in a cap is stood watching behind him, Lincoln weighs the guns up, aiming them as though he was going to shoot at a target, seeing which one he preferred,-END OF FLASHBACK LINCOLN: “He had me come round the night before, tried a few guns, see which one felt right. That was the setup right there. One of those must have been the murder weapon. That's how they got my fingerprints on the gun. Had to be.” NICK: “All right. So this Bo, he coerces you into doing this, all to clear a $90,000 debt?” LINCOLN: “He was gonna kill my son.” and Nick have now exited the Prison, and both are walking and talking about what just happened in the meeting with Lincoln. VERONICA: “Well?” NICK: “Lot of "I didn't do it," and those don't count for much. The security tape, the one that shows Lincoln pulling the trigger, you’ve got it right?” VERONICA: “Yeah.” NICK: “If Lincoln's telling the truth, then that tape is lying, I think we should have a look, decide for ourselves.” and Michael are in their cell after lock-up, Sucre holds out a small hand mirror through the cell bars and uses it to see if any guards are coming, there are none. SUCRE: “You're clear.” reaches up into the bunk above, retrieves the bolt from its hiding place. He walks to the connecting sink/toilet and begins to quickly unscrew it. Meanwhile Sucre picks up one of the now empty toothpaste tubes and sniffs it tentatively, it’s strong and it sharply brings it away from his nose. SUCRE: “If the chemicals can eat through the iron pipes, how come they can't eat through the toothpaste tube?” MICHAEL: “It’s only when the chemicals are combined, that they become a corrosive.” SUCRE: “You studied chemistry or something?” MICHAEL: “Not in school.” walks over to the cell gate to keep an eye out for any guards that may pass, he uses the mirror again, then returns to Michael. Meanwhile Michael finishes unscrewing the sink/toilet and pulls it away from the wall. SUCRE: “But what you're doing up there in the infirmary, what's it gotta do with what we do in here?” MICHAEL: “Getting through this wall is just the beginning. There's a whole lot of real estate in between here and the outside walls. The infirmary's the closest building to those walls, and the weakest link in the security chain.” SUCRE: “Cool.” MICHAEL: “I think I've removed enough grout to bust through. I'm gonna need you to make some noise.” gets up and walks to the Prison cell gate. There he begins to sing horribly in Spanish. Michael turns and looks at him in disbelief. MICHAEL: “Is that the best you can do?” SUCRE: “Have some faith, papi. Have some faith.” begins to sing, once more, again sounding terrible, Inmates begin yelling in response to the terrible singing, Sucre‘s singing gets louder and noticeably worse. Eventually the noise is loud enough to drown out even the loudest of noises, an alarm goes off on the block as an almost full blown riot is happening within each individual cell. Michael takes this opportunity to kick at the wall behind the sink/toilet until it caves in and he breaks through, only then does Sucre stop singing. Meanwhile in his cell, Lincoln hears the faint alarm from A-Wing and looks worried, he visibly sighs, and his eyes widen in fear. Back in A-Wing The P.O’s storm in to see what the commotion is about and quickly put a stop to it BELLICK: “Shut up! Not one more word. Next inmate that opens his mouth goes in the hole!” P.O’s promptly leave as the noise has died down, and the alarm has ceased ringing. Sucre gets out his pocket mirror and checks the block once again, there are no patrolling officers. SUCRE: “We're good.” hesitantly climbs through the small crawl space to see he now has access to the internal part of the prison. is at home with his family, having dinner. He is picking at his food, and brooding, his heavily pregnant wife notices as she comes to sit at the table with her plate of food. HALE’S WIFE: “You OK?” HALE: “Work. It's fine.” doorbell rings. HALE: “I got it.” gets up to answer it. At the door stands Paul Kellerman, looking pleased with himself. HALE: “Everything all right?” KELERMAN: “Couldn't be better.” HALE: “You want to come in? We just sat down to eat.” KELLERMAN: “No. I just wanted to stop by to tell you in person.” its business related Hale steps outside and closes the door behind him. KELLERMAN: “Problem solved.” hands Hale a piece of paper. HALE: “What's this?” KELLERMAN: “That is a transfer request, Michael Scofield is getting shipped out tomorrow.” smiles, but it doesn’t quite reach his eyes, nt that Kellerman notices. KELLERMAN: “Have a good night.” Category:Transcripts